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Glamour Addiction: Inside the American Ballroom Dance Industry [Hardcover]

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Item Number 100006  
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Item Specifications...

Pages   245
Est. Packaging Dimensions:   Length: 1" Width: 7.25" Height: 10"
Weight:   1.6 lbs.
Binding  Hardcover
Release Date   Nov 30, 2006
Publisher   Wesleyan
ISBN  0819567744  
EAN  9780819567741  

Availability  0 units.

Item Description...
In the wake of the blockbuster television success of "Dancing with the Stars," competitive ballroom dance has become a subject of new fascination--and renewed scrutiny. Known by its practitioners as DanceSport, ballroom is a significant dance form and a fascinating cultural phenomenon. In this first in-depth study of the sport, dancer and dance historian Juliet McMains explores the "Glamour Machine" that drives the thriving industry, delving into both the pleasures and perils of its seductions. She further explores the broader social issues invoked in American DanceSport: representation of "Latin," economics that often foster inequality, and issues of identity, including gender, race, class, and sexuality.

Putting ballroom dance in the larger contexts of culture and history, Glamour Addiction makes an important contribution to dance studies, while giving new and veteran enthusiasts a unique and unprecedented glimpse behind the scenes.

Buy Glamour Addiction: Inside the American Ballroom Dance Industry by Juliet E. Mcmains, R. N. Patricia A. Nutz, Joseph A. Albanese, Ph.D., Paul Pelletier, Mike Wieringo, Jim Shooter, Becky Freeman & B. Teissier from our Christian Books store - isbn: 9780819567741 & 0819567744

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Reviews - What do our customers think?
Great book  Apr 14, 2008
This was a great very current book. It had in it current dancers from "Dancing with the Stars" that has everyone now interested in ballroom dancing. It was great to konw the history and the current goings on in ball room
Unfortunately accurate  Dec 28, 2007
After going to a few DanceSport competitions in Australia and watching West Coast Swing competition on DVD I came to similar conclusions as the author of this book. While dance schools in Australia are not in my experience anywhere near as cynical and manipulative as those in the USA, Dancesport itself suffers from many of the same failings. Dancesport takes itself way too seriously. From the overdone fake tans to the grotesque caricatures of emotion ("face acting") to the hugely expensive costuming to the greased back hair and the parents whose egos are invested in their child winning, it is all a bit much. WCS seems to have more of a sense of humour, the costuming is more accessible and there is greater emphasis on actual dance skills in terms of partnering and musicality. And WCS competitors actually seem to genuinely enjoy dancing. So few Dancesport competitors seem to enjoy social dancing that you have to wonder why they bother dancing at all! Having said that, Dancesport does deliver some benefits: teenager competitors have a poise, style and standard of grooming and behavior that will benefit them in other areas of their lives, for example. My one criticism of this book would be its references to cultural theory (e.g. the discussion of 'the grotesque')which to me seems to be a vacuous ideology disguising its lack of any conceptual depth with fancy words. Ironically culture theory is open to many of the same criticisms as Dancesport: all hat and no cattle, as they say in Texas!
disappointment  Dec 4, 2007
I was exited to find a book that would give me some insight into the world of ballroom dancing. While this book does that, to some extent, it's written more in the format of a college thesis, rather than an informational and entertaining book for the masses. The text is dense with obscure vocabulary, and reads as redundant in many places. I found myself skimming, rather than reading. And that, for me, is a disappointment.
Biased  Nov 13, 2007
I would go so far as to say prejudiced. As a devoted ballroom student for 10 years, I was happy to see any more-or-less mainstream book that treated ballroom dancing as something other than a fad, but only the glamorous cover photo of Jonathan Roberts and Anna Trebunskaya has lasting value for me. ... Evidently the author was so disillusioned by her experience as a professional ballroom dancer that she was unable to approach the subject with any objectivity. Her reliance on anecdotal "evidence" presented through composite characters is sloppy research; no broad studies or even surveys are presented. ... Numerous minor errors of fact and occasionally careless editing throughout, but the book's great flaw is that it looks - as apparently did the author during her dancing career - to ballroom dancing to provide, for its practitioners, all that is good in life - and then blames the sport for failing to do so. Those who go into ballroom dancing looking for a little glamour are, in my view, to be applauded; there is precious little glamour available to most of us in our daily lives. That in addition to being a popular social activity it is also a viable worldwide sport shows that a lot of people are indeed getting what they want out of dancing. The author should have talked to some of them.
Dancing at the Revolution: two books, two academics, one message  Aug 2, 2007
Surprisingly, in 2006, two different writers, Juliet McMains and Caroline Picart, have independently written two remarkable books with very similar themes. Each unearths how British Imperialism assimilated African forms, stripped them of their roots and disciplined them into the 'universalist' cultural expression, practiced today in the white male dominated 'industry' known as Dancesport. Each hopes that art might triumph to express a more egalitarian norm, one where women and people of color might be permitted greater freedom though both locate the barriers in class, race, and gender--that is money. To those who would scoff at their hope, I would tell the story of yet another dancer, the venerated agitator Emma Goldman, who, though asked to stop dancing at a social gathering when she was told of a comrade's death, reportedly responded: "If I can't dance, it is not my revolution!" For her, it was all about life and joy, the one fountain from which both artistic and political change flowed. Here, McMains and Picart keep that spirit alive.

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